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Despite the reputation that Alain Resnais has garnered as “cinema’s definitive artist of postwar trauma,” few scholars have undertaken a detailed comparative analysis of his two works that broach this[…]

“What Jonze, Coover, and Švankmajer are all playing with in their distinctive, varying shades of dark humor are the dual perspectives of the Spielbergian audience, absorbed in the protagonists’ fantasies,[…]

The continuing attention being showered on Jennifer Kent’s 2014 The Babadook from horror luminaries such as Stephen King and William Friedkin has prompted some impressive critical writing, while simultaneously anchoring[…]